"and all optical houses), and 2.35:1 or 2.39:1 or 2.40:1 is simply a hard-matted version of the others. Fox selected ""The Robe"" as the first film to start production in CinemaScope, a project chosen because of its epic nature. During its production, ""How to Marry a Millionaire"" and ""Beneath the 12-Mile Reef"" also went into Cinemascope production. ""Millionaire"" finished production first, before ""The Robe"", but because of its importance, ""The Robe"" was released first. Fox used its influential people to promote CinemaScope. With the success of ""The Robe"" and ""How to Marry a Millionaire,"" the process enjoyed success in Hollywood."
"Blacksmith Scene Blacksmith Scene (also known as Blacksmith Scene #1 and Blacksmithing Scene) is an 1893 American short black-and-white silent film directed by William K.L. Dickson, the Scottish-French inventor who, while under the employ of Thomas Edison, developed the first fully functional motion picture camera. It is historically significant as the first Kinetoscope film shown in public exhibition on May 9, 1893 and is the earliest known example of actors performing a role in a film. 102 years later, in 1995, ""Blacksmithing Scene"" was selected for preservation in the United States National Film Registry by the Library of Congress as"
"Fox licensed the process to many of the major film studios including Columbia, Warner Bros., Universal, MGM and Walt Disney Productions. Walt Disney Productions was one of the first companies to license the CinemaScope process from Fox. Among the features and shorts they filmed with it, they created the live-action epic ""20,000 Leagues Under the Sea,"" considered one of the best examples of early CinemaScope productions. Walt Disney Productions' ""Toot, Whistle, Plunk and Boom"", which won an Academy Award for Best Short Subject (Cartoons) in 1953, was the first cartoon produced in Cinemascope. The first animated feature film to use"
"CinemaScope CinemaScope is an anamorphic lens series used, from 1953 to 1997, and less often later, for shooting widescreen movies that, crucially, could be screened in theatres using existing equipment, albeit with a lense adapter. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal photography and movie projection. The anamorphic lenses theoretically allowed the process to create an image of up to a 2.66:1 aspect ratio, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope"
"1952 had been Cinerama, which required three projectors to fill a giant curved screen, and ""Natural Vision"" 3D, which got its effects of depth by requiring the use of polarized glasses, Fox mortgaged its studio to buy rights to a French anamorphic projection system which gave a slight illusion of depth without glasses. President Spyros Skouras struck a deal with the inventor Henri Chrétien, leaving the other film studios empty-handed, and in 1953 introduced CinemaScope in the studio's groundbreaking feature film ""The Robe"". Zanuck announced in February 1953 that henceforth all Fox pictures would be made in CinemaScope. To convince"
"shot with anamorphic lenses. The film was then exhibited with a complementary anamorphic lens on the projector that expanded the image, creating a projected aspect ratio (the ratio of the image's width to its height) twice that of the image area on the physical frame of film. By the time the first CinemaScope movie—""The Robe"" (1953)—was announced for production, Gottschalk, Moore and Nicholson had a demo reel of work with their anamorphic underwater system. Gottschalk learned from one of his vendors that Bausch & Lomb, whom Fox had contracted to manufacture CinemaScope lenses, was having difficulty filling the lens orders"
"scheduled, but at the Brooklyn Institute of Arts and Sciences on May 9, 1893. The first film publicly shown on the system was ""Blacksmith Scene"" (aka ""Blacksmiths""); directed by Dickson and shot by Heise, it was produced at the new Edison moviemaking studio, known as the Black Maria. Despite extensive promotion, a major display of the Kinetoscope, involving as many as twenty-five machines, never took place at the Chicago exposition. Kinetoscope production had been delayed in part because of Dickson's absence of more than eleven weeks early in the year with a nervous breakdown. Robinson argues that ""[s]peculation that a"
"and scope. In 1953, CinemaScope was introduced in ""The Robe"". In 1956 DeMille remade his 1923 film ""The Ten Commandments"". It was the biggest moneymaker of 1956, nominated for seven Academy Awards, and won for special effects. Professor Drew Casper, a film historian at the University of Southern California, says that by the mid-1960s several epic-style biblical movies flopped, and were partially blamed for the movie industry's financial troubles at that time. Two major studio attempts to make a film of Jesus' life during this period, ""The Greatest Story Ever Told"" and ""King of Kings"" were both commercial failures. ""The"
"was later sold to Thomas Edison, who changed the name of the projector to Edison's Vitascope. With the Vitascope, Edison began public showings of his films at Koster and Bial's Music Hall on 34th Street in New York City on April 23, 1896. However, the first ""storefront theater"" in the US dedicated exclusively to showing motion pictures was Vitascope Hall, established on Canal Street, New Orleans, Louisiana July 26, 1896—it was converted from a vacant store. A crucial factor was Edison's decision to sell a small number of Vitascope projectors as a business venture in April–May 1896. In the basement"
"theater owners to install this new process, Fox agreed to help pay conversion costs (about $25,000 per screen); and to ensure enough product, Fox gave access to CinemaScope to any rival studio choosing to use it. Seeing the box-office for the first two CinemaScope features, ""The Robe"" and ""How to Marry a Millionaire"" (also 1953), Warner Bros., MGM, Universal Pictures (then known as Universal-International), Columbia Pictures and Disney quickly adopted the process. In 1956 Fox engaged Robert Lippert to establish a subsidiary company, Regal Pictures, later Associated Producers Incorporated to film B pictures in CinemaScope (but ""branded"" RegalScope). Fox produced"
"the original Phantoscope and before he partnered with Armat, Jenkins displayed the earliest documented projection of a filmed motion picture in June 1894 in Richmond, Indiana. Armat independently sold the Phantoscope to The Kinetoscope Company. The company realized that their Kinetoscope would soon be a thing of the past with the rapidly advancing proliferation of early cinematic engineering. By 1897, just two years after the Vitascope was first demonstrated, the technology was being nationally adopted. Hawaii and Texas were among the first to incorporate the Vitascope into their picture shows. Vitascope was also used briefly as a trademark by Warner"
"Phantoscope The Phantoscope was a film projection machine, a creation of Charles Francis Jenkins. Created in the early 1890s, he projected the first motion picture before an audience in his hometown of Richmond, Indiana on June 6, 1894. He later met Thomas Armat who provided financial backing for necessary modifications. The two inventors unveiled their modified projector at the Cotton States Exposition in Atlanta, Georgia, in September 1895. Jenkin's machine was the first projector to allow each still frame of the film to be illuminated long enough before advancing to the next frame sequence. This was different from Thomas Edison's"
"CinemaScope was ""Lady and the Tramp"" (1955), also from Walt Disney Productions. Due to initial uncertainty about whether the process would be adopted widely, a number of films were shot simultaneously with anamorphic and regular lenses. Despite early success with the process, Fox did not shoot every production by this process. They reserved CinemaScope as a trade name for their ""A"" productions, while ""B"" productions in black and white were begun in 1956 at Fox under the trade name, ""RegalScope."" The latter used the very same optics as CinemaScope, but, usually, a different camera system (such as Mitchell BNCs at"
"a projection lens so that these ""moving pictures"" could be shown tremendously enlarged on a screen for viewing by an entire audience. The first kinetoscope film shown in public exhibition was Blacksmith Scene, produced by Edison Manufacturing Company in 1893. The following year the company would begin Edison Studios, which became an early leader in the film industry with notable early shorts including The Kiss, and would go on to produce close to 1,200 films. The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films"
"again for cinematography until 1952 when Twentieth Century-Fox bought the rights to the technique to create its CinemaScope widescreen technique. CinemaScope was one of many widescreen formats developed in the 1950s to compete with the popularity of television and bring audiences back to the cinemas. ""The Robe"", which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens. The introduction of anamorphic widescreen arose from a desire for wider aspect ratios that maximised overall image detail while retaining the use of standard (4 perf per frame) cameras and projectors. The modern anamorphic format has"
"""Barber Shop"", ""Blacksmiths"", ""Cock Fight"", ""Wrestling"", and ""Trapeze"". Edison's film studio was used to supply films for this sensational new form of entertainment. More Kinetoscope parlors soon opened in other cities (San Francisco, Atlantic City, and Chicago). In 1901, the first public film was screened in Oberlin, Ohio, starting the transition from kinetoscope to screen. When Edison built a glass-enclosed rooftop movie studio in New York City, the Black Maria was closed in January 1901, and Edison demolished the building in 1903. The U. S. National Park Service maintains a reproduction of the Black Maria, built in 1954 at what"
"it was the second CinemaScope film released by Fox, after the biblical epic film ""The Robe"". 20th Century Fox started production on ""The Robe"" before it began production on ""How to Marry a Millionaire"", although production on the latter was completed first. The studio chose to present ""The Robe"" as its first CinemaScope production in late September or early October 1953 because it saw this film as being more family-friendly and attracting a larger audience to introduce its widescreen process. The film's cinematography was by Joseph MacDonald. The costume design was by Travilla. Between scenes, the cinematography has some iconic"
"Vitascope Vitascope was an early film projector first demonstrated in 1895 by Charles Francis Jenkins and Thomas Armat. They had made modifications to Jenkins patented Phantoscope, which cast images via film and electric light onto a wall or screen. The Vitascope is a large electrically-powered projector that uses light to cast images. The images being cast are originally taken by a kinetoscope mechanism onto gelatin film. Using an intermittent mechanism, the film negatives produced up to fifty frames per second. The shutter opens and closes to reveal new images. This device can produce up to 3,000 negatives per minute. With"
"views of ordinary slices of life — street scenes, the activities of police or firemen, or shots of a passing train. On Saturday, April 14, 1894, Edison's Kinetoscope began commercial operation. The Holland Brothers opened the first Kinetoscope Parlor at 1155 Broadway in New York City and for the first time, they commercially exhibited movies, as we know them today, in their amusement arcade. Patrons paid 25 cents as the admission charge to view films in five kinetoscope machines placed in two rows. Nearly 500 people became cinema's first major audience during the showings of films with titles such as"
"the camera) to obtain the ""wide"" aspect ratio. The standard, in some European countries, became 1.66:1 instead of 1.85:1, although some productions with pre-determined American distributors composed for the latter to appeal to US markets. In September 1953, 20th Century Fox debuted CinemaScope with their production of ""The Robe"" to great success. CinemaScope became the first marketable usage of an anamorphic widescreen process and became the basis for a host of ""formats,"" usually suffixed with ""-scope,"" that were otherwise identical in specification, although sometimes inferior in optical quality. (Some developments, such as SuperScope and Techniscope, however, were truly entirely different"
"sound, and widescreen movies. Cinerama was one of the first widescreen movie processes of the era. In its initial conception, the cumbersome system required three cameras for shooting and three synchronized projectors to display a picture on one wide, curved screen. Along with the logistical and financial challenges of tripling equipment usage and cost, the process led to distracting vertical lines between the three projected images. Looking for a high-impact method of widescreen filmmaking that was cheaper, simpler, and less visually distracting, 20th Century Fox acquired the rights to a process it branded CinemaScope: in this system, the film was"
"(an experienced banker), and Erich Zeiske. In October 1908, Greenbaum opened the Vitascope cinema, a showpiece 500-seat movie theatre on , 1–2 Berliner Straße. Greenbaum's firm invented and used Synchroscope, which synchronised the visual picture of films with phonograph records to create a working sound and vision system. Greenbaum produced a number of these sound shorts of vocal classical music, and in 1908 entered into contracts to supply the machinery to Carl Laemmle's Movie Service Company in Chicago and to another American, Charles Urban, in Britain. Carl Laemmle installed the system in a number of American cinemas, mostly in German-speaking"
"Bioscop The Bioscop is a movie projector developed in 1895 by German inventors and filmmakers Max Skladanowsky and his brother Emil Skladanowsky (1866–1945). The Bioscop used two loops of 54-mm films without a side perforation. This caused poor control of the film-transport through the projector and might have contributed to the more successful development of the cinematograph by the French brothers Lumiere. The first public performance of the movie scenes using the Bioscop was organized in the restaurant Feldschlößchen in Berlin-Pankow, Berliner Straße 27. Three of the scenes became iconic for early cinematography: ""Boxing Kangaroo"", ""The Wrestler"" and ""The Serpentine"
"Bioscop The Bioscop is a movie projector developed in 1895 by German inventors and filmmakers Max Skladanowsky and his brother Emil Skladanowsky (1866–1945). The Bioscop used two loops of 54-mm films without a side perforation. This caused poor control of the film-transport through the projector and might have contributed to the more successful development of the cinematograph by the French brothers Lumiere. The first public performance of the movie scenes using the Bioscop was organized in the restaurant Feldschlößchen in Berlin-Pankow, Berliner Straße 27. Three of the scenes became iconic for early cinematography: ""Boxing Kangaroo"", ""The Wrestler"" and ""The Serpentine"
"Techniscope, the first of which was ""The Pharaoh's Woman"", released 10 December 1960. Given its considerable savings in production cost but lesser image quality, Techniscope was primarily an alternative format used by low-budget film makers, mainly in the horror and western genres. Since the format originated in Italy, most Techniscope format films were European productions. In the U.S., Techniscope was used in the low-budget A.C. Lyles Westerns for Paramount Pictures, as well as in a few MGM/UA pictures as well, and Universal Studios briefly used it extensively in the mid to late 1960s. Producer Sid Pink recalled that unlike Europe,"
"now widely known, was made expressly to produce a sequence of images for an article in ""Harper's"" magazine. Never intended for exhibition, it would become one of the most famous Edison films and the first identifiable motion picture to receive a U.S. copyright. Three months later, the Kinetoscope's epochal moment arrived. On April 14, 1894, a public Kinetoscope parlor was opened by the Holland Bros. in New York City at 1155 Broadway, on the corner of 27th Street—the first commercial motion picture house. The venue had ten machines, set up in parallel rows of five, each showing a different movie."
"refurbishment in 1998 included new versions of some lost details, including the figures, and seating upholstery pattern. The first wide-screen (screen ratio 1.66:1) ever installed in Great Britain was premiered on 14 May 1953; the film shown was ""Tonight We Sing"". The British debut of CinemaScope (screen ratio 2.55:1) following soon after on 19 November 1953 with the quasi-biblical epic, ""The Robe"". The first cinema to show Cinemascope in London was the Odeon Tottenham Court Road (9 June 1953), which was also the venue for the first screening of Cinerama. The theatre's Chief Engineer, Nigel Wolland, was awarded an MBE"
"the vaults of the Museum of Modern Art and the George Eastman House. Notes Biograph Company The Biograph Company, also known as the American Mutoscope and Biograph Company, was a motion picture company founded in 1895 and active until 1916. It was the first company in the United States devoted entirely to film production and exhibition, and for two decades was one of the most prolific, releasing over 3000 short films and 12 feature films. During the height of silent film as a medium, Biograph was America's most prominent film studio and one of the most respected and influential studios"
"of the century, soon becoming known as cinemas. The Vitascope Hall in New Orleans was opened in 1896 as one of the first such establishments. It showed two exhibitions, one in the morning and one in the afternoon. Another early establishment was the Islington Palace, originally built in 1869 as part of the Royal Agricultural Hall complex. The concert hall was converted into a full-time cinema in 1901, a year after it showed its first film. The Nickelodeon was the first successful permanent theatre showing only films, and opened in Pittsburgh in 1905. By then there were enough films several"
"cinematograph allowed simultaneous viewing by multiple people. Their first film, ""Sortie de l'usine Lumière de Lyon"", shot in 1894, is considered the first true motion picture. The invention of celluloid film, which was strong and flexible, greatly facilitated the making of motion pictures (although the celluloid was highly flammable and decayed quickly). This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard (see 35 mm film). This doomed the cinematograph, which only worked with film with a single sprocket hole. The art of motion pictures grew into full maturity in the ""silent"
"producers for feature films, and by American films such as the first three ""Star Wars"" movies for high resolution special effects sequences. In many ways, VistaVision was a testing ground for cinematography ideas that evolved into 70 mm IMAX and OMNIMAX film formats in the 1970s. Both IMAX and OMNIMAX are oriented sideways, like VistaVision. As a response to an industry recession brought about by the popularity of television, the Hollywood studios turned to large format movies in order to regain audience attendance. The first of these, Cinerama, debuted in September 1952, and consisted of three strips of 35 mm"
"This problem was avoided at first by composing wider shots, but as anamorphic technology lost its novelty, directors and cinematographers sought compositional freedom from these limitations. Issues with the lenses also made it difficult to photograph animation using the CinemaScope process. Nevertheless, many animated short films and a few features were filmed in CinemaScope during the 1950s, including Walt Disney's ""Lady and the Tramp"" (1955). CinemaScope 55 was a large-format version of CinemaScope introduced by Twentieth Century Fox in 1955, which used a film width of 55.625 mm. Fox had introduced the original 35 mm version of CinemaScope in 1953"
"Euroscope, Franscope, and Naturama (the latter used by Republic Pictures). In 1953, Warner Bros. also planned to develop an identical anamorphic process called Warnerscope but, after the premiere of CinemaScope, Warner Bros. decided to license it from Fox instead. Although CinemaScope was capable of producing a 2.66:1 image, the addition of magnetic sound tracks for multi-channel sound reduced this to 2.55:1. The fact that the image was expanded horizontally when projected meant that there could be visible graininess and brightness problems. To combat this, larger film formats were developed (initially a too-costly 55 mm for ""Carousel"" and ""The King and"